A doof dance track with the kick mixed loud but otherwise totally dry to show how heavy compression can glue the track together into a pumping smooth dance monster.

0:00 - Dry audio.

0:45 - Glued audio.

This vocal was deliberately sung with quiet and loud sections which need taming to use in a mix. The Glue easily brings the quiet sections up and brings the loud sections down, while as the same time increasing clarity and giving the vocals a little sparkle.

0:00 - Dry audio.

0:37 - Glued audio.

This song uses The Drop for tremelo and panning as well as filter sweeps. The sidechain-like pumping of the synth is actually done using an LFO that can reach audio rate for dramatic buildups and breakdowns. Two copies of The Drop are used on the track, one on the synth and one on the drums.

0:00 - Panning and filter sweeps. The LFO is used as a panning effect by using the phase offset control.

0:30 - Pumping in time with song. The pumping here is done with a rising sawtooth LFO, no sidechain compression is used.

0:46 - Audio rate LFO. The rate of the LFO is increased to create a ring modulation at audio rate before being swept down again for the drop.

0:60 - LFO automatic re-sync. The LFO automatically re-syncs to the nearest bar so that it's back in time with the song.

An example of using The Drop on a synth bassline and a drum beat using the MS1 circuit modelled low pass and high pass filters.

0:00 - Dry bassline for a short time, then the low pass filter is swept into action and away again, then the highpass filter is swept into action and away again.

0:22 - A bandpass filter is made on the bassline using both the high pass and low pass filters together.

0:44 - The high pass is pushed into self oscillation to create interesting tones with the synth bass sound.

1:50 - An envelope follower is used to modulate the cutoff and create an wah-wah type sound on the mix, the strong drum sounds give the filter lots of movement.